Love as a Major Muse Analyzing Frida Kahlos Relationship...

Frida Kahlo is quoted as saying, I suffered two grave accidents in my life. One in which a streetcar knocked me down. The other accident is Diego, (cited by Botis 1). The love relationship between Frida Kahlo and Diego Rivera is one of the most famous in modern art. Their relationship was tumultuous, which seemed to be a good recipe for creativity and artistic self-expression. It is a well-known fact that they had a passionate and stormy relationship, filled with great love and also betrayals, (Frida Kahlo and Diego Rivera 1). The relationship between Frida Kahlo and Diego Rivera shows that love, even when it is painful, can be a powerful muse. The term muse refers to any kind of creative inspiration. The ancient Greek muses were female beings who provided inspiration for scientists, poets, musicians, and comedians (Oxford English Dictionary). A muse can be anyone, but in legend a muse is often a woman, or a force personified as a woman, who is the source of inspiration for a creative artist, (Oxford English Dictionary). For Diego Rivera, then, Frida Kahlo was his muse. The reverse is also true, though. Diego Rivera was Frida Kahlos muse, as together they shared a powerful, intense romantic relationship. Although the relationship was stormy, or possibly for that very reason, Kahlo and Rivera created works of art that have left an indelible impression on human culture. The way their respective muses worked was different for Kahlo and Rivera. For Kahlo, she depicted

I will provide the details shortly Example

Essays on I will provide the details shortly Coursework Finance and Accounting work Question A) Individual hypothesis testing is the ability to test the given statistical hypothesis with the objective of accepting or rejecting a null hypothesis. On the other hand, joint hypothesis testing involves testing of the statistical method without giving a level of overall certainty of the fulfillment of the given objective. A given statistical phenomena can be fulfilled with respect to the method used. B) The F test is based on the ratio of variances and is used to make comparison of two means or treatments. Therefore, the F test is used for experiments involving more than two treatments. Therefore, it determines whether one can assume that two independent estimates of variance can be assumed to estimate the same variance. The ability of the treatments to differ implies that the variation in treatment means will be greater than variation arising from random differences among individuals. C) A single index model is a pricing model that measures that risk and the return on the stock of an organization with its common applications being in the financial industry. The multi-factor model also has its applications in the financial sector. However, the model involves utility of multiple factors in its computations that are used to explain the market phenomena such as equilibrium of prices. Its applications include explanation of individual or portfolio security. An example of a multifactor model is displayed below and is used to stock market factors. Ri = ai + ÃŽ ²i(m) Rm + ÃŽ ²i(1)F1 + ÃŽ ²i(2)F2 +†¦+ÃŽ ²i(N)FN + ei Where: Ri  represents the returns of security i Rm  represents the market return F(1,2,3†¦N) represents each of the factors used ÃŽ ²Ã‚  represents the beta with respect to each factor including the market (m) e  represents the error term a  represents the intercept Question 2 a) t-values ri = 0.080 + 0.801Si + 0.321MBi + 0.164PEi - 0.084BETAi (0.064) (0.147) (0.136) (0.420) (0.120) 1.25 5.45 2.36 0.390 -0.700 The t ratios are calculated by division of estimates by the standard error. Based on the provided estimates, and standard errors, the calculated t values are as indicated below each value in the above equation. The null hypothesis is rejected at the 5% level if the absolute value of the test statistic is greater than the critical value. The above values indicate that the absolute values are greater than the critical t values except for beta. This means that we reject the null hypothesis and confirm that the firm size and the market to book value have a significant impact in the returns of the stock of the firm. b) The initial regression carried out is the unrestricted regression while the second is the restricted one. The F test is used to test the hypothesis with the sample values being: F = [(RSSr – RSSu)/m]/(RSSu/(n-k) F = [(222.7 – 203.8)/2]/(203.8/216-3-1) = 9.83 This is followed by calculation of the critical value of F from the tables at 5% level. The outcome is 3.00. The absolute value of F is higher than the critical value, thereby implying that we reject the null hypothesis and accept the alternative hypothesis that ÃŽ ²2 and ÃŽ ²3 are not jointly equal to zero. In addition, HML and SMB have a significant impact on the excess return of the portfolio of the company. Question 3: The reported results indicate that there is evidence for the day-of-the-week effect. The outcome indicates that the day of the week effect has a positive impact on an individual due to the positive intercept. Similarly, Tuesday has a positive effect. However, the rest of the days of the week have a negative effect on an individual. Only the Monday dummy is significant at the 5% level of significance. This suggests that the Mondays returns are significantly smaller than Wednesdays returns on average (note that the coefficient is interpreted as the difference in average returns between Wednesday and Monday. Exercise 5A: Lab Questions 1) a). The intercept is negative indicating that autonomous returns of all share FTSE is negative. b). The slope coefficient beta is 1.408, which implies that the price of the stock is more volatile than the market. The stock price is 40.8% more volatile than the market. c). The coefficient of determination R is 0.4874. This implies that the changes in the market explain 48.74% of the changes in the price of the stock. d) In Q2, the p value is 0.0108. This means that there is relative evidence against the null hypothesis in favor of the alternative hypothesis. This is the reason for the rejection of the null hypothesis. e) beta values are significant to the study and indicate that the stock price is highly volatile than the market. f) the significance F is 1.3, which implies the variation among groups. This means that the null hypothesis is rejected. 5b Q1, Q2, Q3 Prices Log Returns Date PFT100 PBARC RFT100 RBARC Jan-2003 3567.4 240.63       Feb-2003 3655.6 260.69 0.02442 0.08007 Mar-2003 3613.3 259.27 -0.01164 -0.00546 Apr-2003 3926 307.04 0.08300 0.16911 May-2003 4048.1 305.44 0.03063 -0.00522 Jun-2003 4031.2 319.65 -0.00418 0.04547 Jul-2003 4157 332.61 0.03073 0.03974 Aug-2003 4161.1 331.51 0.00099 -0.00331 Sep-2003 4091.3 332.77 -0.01692 0.00379 Oct-2003 4287.6 358.17 0.04686 0.07356 Nov-2003 4342.6 369.34 0.01275 0.03071 Dec-2003 4476.9 359.07 0.03046 -0.02820 Jan-2004 4390.7 356.73 -0.01944 -0.00654 Feb-2004 4492.2 358.14 0.02285 0.00394 Mar-2004 4385.7 354.8 -0.02399 -0.00937 Apr-2004 4489.7 376.46 0.02344 0.05926 May-2004 4430.7 352.03 -0.01323 -0.06710 Jun-2004 4464.1 347.77 0.00751 -0.01218 Jul-2004 4413.1 340.55 -0.01149 -0.02098 Aug-2004 4459.3 386.99 0.01041 0.12784 Sep-2004 4570.8 398.65 0.02470 0.02968 Oct-2004 4624.2 400.16 0.01162 0.00378 Nov-2004 4703.2 406.17 0.01694 0.01491 Dec-2004 4814.3 440.77 0.02335 0.08175 Jan-2005 4852.3 437.77 0.00786 -0.00683 Feb-2005 4968.5 436.34 0.02367 -0.00327 Mar-2005 4894.4 417.8 -0.01503 -0.04342 Apr-2005 4801.7 414.71 -0.01912 -0.00742 May-2005 4964 402.74 0.03324 -0.02929 Jun-2005 5113.2 429 0.02961 0.06317 Jul-2005 5282.3 430.16 0.03254 0.00270 Aug-2005 5296.9 434.01 0.00276 0.00891 Sep-2005 5477.7 449.71 0.03356 0.03554 Oct-2005 5317.3 439.51 -0.02972 -0.02294 Nov-2005 5423.2 463.45 0.01972 0.05304 Dec-2005 5618.8 479.53 0.03543 0.03411 Jan-2006 5760.3 471.69 0.02487 -0.01648 Feb-2006 5791.5 524.66 0.00540 0.10643 Mar-2006 5964.6 542.71 0.02945 0.03382 Apr-2006 6023.1 551.98 0.00976 0.01694 May-2006 5723.8 497.99 -0.05097 -0.10293 Jun-2006 5833.4 495.17 0.01897 -0.00568 Jul-2006 5928.3 506.05 0.01614 0.02173 Aug-2006 5906.1 538.44 -0.00375 0.06204 Sep-2006 5960.8 551.95 0.00922 0.02478 Oct-2006 6129.2 579.38 0.02786 0.04850 Nov-2006 6048.8 557.27 -0.01320 -0.03891 Dec-2006 6220.8 597.81 0.02804 0.07022 Jan-2007 6203.1 606 -0.00285 0.01361 Feb-2007 6171.5 606 -0.00511 0.00000 Mar-2007 6308 607.49 0.02188 0.00246 Apr-2007 6449.2 612.96 0.02214 0.00896 May-2007 6621.4 608.33 0.02635 -0.00758 Jun-2007 6607.9 586.42 -0.00204 -0.03668 Jul-2007 6360.1 588.95 -0.03822 0.00431 Aug-2007 6303.3 526.42 -0.00897 -0.11224 Sep-2007 6466.8 510.97 0.02561 -0.02979 Oct-2007 6721.6 518.26 0.03864 0.01417 Nov-2007 6432.5 483.08 -0.04396 -0.07029 Dec-2007 6456.9 432.46 0.00379 -0.11069 Jan-2008 5879.8 403.29 -0.09363 -0.06983 Feb-2008 5884.3 409.51 0.00077 0.01531 Mar-2008 5702.1 408.84 -0.03145 -0.00164 Apr-2008 6087.3 412 0.06537 0.00770 May-2008 6053.5 338.44 -0.00557 -0.19668 Jun-2008 5625.9 263.08 -0.07326 -0.25189 Jul-2008 5411.9 305.05 -0.03878 0.14802 Aug-2008 5636.6 330.3 0.04068 0.07953 Sep-2008 4902.5 305.51 -0.13954 -0.07802 Oct-2008 4377.3 167.4 -0.11331 -0.60160 Nov-2008 4288 158.51 -0.02061 -0.05457 Dec-2008 4434.2 143.54 0.03353 -0.09920 Jan-2009 4149.6 99.28 -0.06634 -0.36867 Feb-2009 3830.1 87.39 -0.08012 -0.12756 Mar-2009 3926.1 138.48 0.02476 0.46035 Apr-2009 4243.7 263.4 0.07779 0.64295 May-2009 4417.9 278.37 0.04023 0.05528 Jun-2009 4249.2 264.8 -0.03893 -0.04998 Jul-2009 4608.4 282.86 0.08115 0.06598 Aug-2009 4908.9 355.8 0.06317 0.22942 Sep-2009 5133.9 346.21 0.04482 -0.02732 Oct-2009 5044.5 301.29 -0.01757 -0.13897 Nov-2009 5190.7 274.42 0.02857 -0.09341 Dec-2009 5412.9 259.08 0.04192 -0.05752 Jan-2010 5188.5 253.96 -0.04234 -0.01996 Feb-2010 5354.5 294.76 0.03149 0.14898 Mar-2010 5679.6 339.84 0.05894 0.14231 Apr-2010 5553.3 319.04 -0.02249 -0.06316 May-2010 5188.4 288.66 -0.06797 -0.10007 Jun-2010 4916.9 255.97 -0.05375 -0.12019 Jul-2010 5258 314.87 0.06707 0.20710 Aug-2010 5225.2 286.97 -0.00626 -0.09278 Sep-2010 5548.6 284.31 0.06005 -0.00931 Oct-2010 5675.2 260.59 0.02256 -0.08712 Nov-2010 5528.3 243.97 -0.02623 -0.06590 Dec-2010 5899.9 249.21 0.06506 0.02125 Jan-2011 5862.9 279.78 -0.00629 0.11571 Feb-2011 5994 307.02 0.02211 0.09291 Mar-2011 5908.8 266.42 -0.01432 -0.14184 Apr-2011 6069.9 270.98 0.02690 0.01697 May-2011 5990 266.49 -0.01325 -0.01671 Jun-2011 5945.7 247.03 -0.00742 -0.07583 Jul-2011 5815.2 214.81 -0.02219 -0.13976 Aug-2011 5394.5 165.4 -0.07510 -0.26139 Sep-2011 5128.5 156.3 -0.05057 -0.05659 Oct-2011 5544.2 189.18 0.07794 0.19092 Nov-2011 5505.4 175.57 -0.00702 -0.07466 Dec-2011 5572.3 171.48 0.01208 -0.02357 Jan-2012 5681.6 207.03 0.01942 0.18840 Feb-2012 5871.5 241.56 0.03288 0.15425 Mar-2012 5768.5 231.95 -0.01770 -0.04060 Apr-2012 5737.8 215.19 -0.00534 -0.07500 May-2012 5320.9 174.6 -0.07543 -0.20902 Jun-2012 5571.1 161.28 0.04595 -0.07936 Jul-2012 5635.3 166.38 0.01146 0.03113 Aug-2012 5711.5 182.49 0.01343 0.09242 Sep-2012 5742.1 213.96 0.00534 0.15909 Oct-2012 5782.7 226.56 0.00705 0.05722 Nov-2012 5866.8 246 0.01444 0.08232 Dec-2012 5897.8 262.4 0.00527 0.06454 4) Descriptive statistics Descriptive statistics    RFT100 RBARC Mean 0.0042 0.0007 Standard Error 0.0036 0.0120 Median 0.0098 -0.0016 Mode - - Standard Deviation 0.0395 0.1313 Sample Variance 0.0016 0.0172 Kurtosis 1.3820 8.6869 Skewness -0.8062 0.3187 Range 0.2225 1.2445 Minimum -0.1395 -0.6016 Maximum 0.0830 0.6429 Sum 0.5027 0.0866 Count 119 119 5) Histograms for the two return series 6) Comments on descriptive statistics The means of RFT100 is higher than that of RBARC (0.0007). the standard error in RFT100 is 0.0036, which is lower than 0.012 of RBARC. The former has a higher median of 0.0098 compared to -0.0016. On the contrary, RBARC has a higher standard deviation of 0.1313 while its variance is 0.0172. RFT100 is skewed to the left at -0.8062 while RBARC is skewed to the right at 0.3187. Both have negative and positive minimums and maximums respectively while the sum varies. 7) Time series plot of prices

Bus Template Free Essays

Unit 3 – Sampling Type your Name Here American InterContinental University Abstract This is a single paragraph, no indentation is required. The next page will be an abstract; â€Å"a brief, comprehensive summary of the contents of the article; it allows the readers to survey the contents of an article quickly† (Publication Manual, 2010). The length of this abstract should be 35-50 words (2-3 sentences). We will write a custom essay sample on Bus Template or any similar topic only for you Order Now NOTE: the abstract must be on page 2 and the body of the paper will begin on page 3. Introduction Remember to always indent the first line of a paragraph (use the tab key). The introduction should be short (2-3 sentences). The margins, font size, spacing, and font type (italics or plain) are set in APA format. While you may change the names of the headings and subheadings, do not change the font or style of font. Part 1: Survey Analysis: Entertainment Describe an entertainment poll or survey. Analyze the number of people who participated in the sample compared to the number in the population. (Be sure to cite the article which must be from ProQuest Newspapers) Discuss how the results of the survey can be used to tell a story or support an idea of the sponsoring company or media group. Part 1: Survey Analysis: Politics Describe a political poll or survey. Analyze the number of people who participated in the sample compared to the number in the population. (Be sure to cite the article which must be from ProQuest Newspapers) Discuss how the results of the survey can be used to tell a story or support an idea of the sponsoring company or media group. Part 1: Survey Analysis: General Opinion Describe a general opinion poll or survey. Analyze the number of people who participated in the sample compared to the number in the population. (Be sure to cite the article which must be from ProQuest Newspapers) Discuss how he results of the survey can be used to tell a story or support an idea of the sponsoring company or media group. Part 1: Overall Survey Analysis Consider the three surveys presented. Using the knowledge you learned from the textbook, compare and contrast the sample sizes in each of the three surveys mentioned in the post and determine if the samples sizes are appropriate. In your opinion, whi ch appears to be the most valid? (Cite and reference the textbook) This section of the paper will be 2-3 pages in length and each survey or poll described MUST come from AIU Library’s ProQuest Newspaper Database. Part 2: Application Create your own 3 question Entertainment or General Opinion Survey using http://www. zoomerang. com/basic/ or another free survey program or http://www. surveymonkey. com/. Secure a minimum of 20 responses. Your survey respondents may be friends, family or classmates. (NOTE: The small sample size was chosen for convenience and as you know is not a valid sample. The goal is for you to create, deploy and analyze a simple survey. ) Include a copy of your survey. This section of the paper will contain 1 page of text and 3 charts. Chart # 1 Provide charts of your results and describe those charts in words Description of Chart # 1 Provide charts of your results and describe those charts in words Chart # 2 Provide charts of your results and describe those charts in words Description of Chart # 2 Provide charts of your results and describe those charts in words Chart # 3 Provide charts of your results and describe those charts in words Description of Chart # 3 Provide charts of your results and describe those charts in words Part 2: Use of Results Explain how the results of your survey can be used by a media group or company. Conclusion Add some concluding remarks-can be a sentence or two. References NOTE: The reference list starts on a new page after your conclusion. For help with formatting citations and references using rules outlined in the APA Manual’s 6th Edition, please check out the AIU APA guide located under the Interactive Learning section on the left side of the course. Examples: American Psychological Association [APA]. (2010) Publication manual of the American Psychological association (6th ed. ). Washington, DC: Author. Association of Legal Writing Directors (ALWD) (2005). ALWD citation manual: A professional system of citation (3rd ed. ). New York: Aspen Publishers. How to cite Bus Template, Papers

Bridging the gulf Essay Example For Students

Bridging the gulf Essay The relationship between a grantmaker and a grantseeker can never be equal. One is the benefactor, the other the supplicant. One holds the purse strings, the other wants to loosen them. But recently, that relationship has become more distancedand sometimes almost adversarial. A recent study of foundation and corporate arts funding commissioned by Grantmakers in the Arts and conducted by the Foundation Center, observed: The relationship between nonprofit arts organizations and the funding sources on which they depend has been the subject of much debate during the past two years, largely as a result of two major developments: a) fiscal and organizational instability faced by the arts groups, and b) political attacks on the content of the artists visual and performing works. The heated nature of the debate has contributed to a general impression that a vast and perhaps unbridgeable gulf has emerged between the artists and their funders, both governmental and philanthropic. While the study ultimately found that there is much agreement, differences did emerge on some issues, and opinion and action often do not seem to mesh. We will write a custom essay on Bridging the gulf specifically for you for only $16.38 $13.9/page Order now There is growing concern throughout the theatre community, for example, that segments of the philanthropic community are reallocating grant dollars to fund special initiatives such as education and community outreach programs, and abandoning support for artistic development, production seasons and infrastructure. The recent controversies surrounding government arts funding may be one reason private foundation and corporate grantmakers are growing more cautious and choosing increasingly to earmark funds for specific projectsespecially projects that have a social service focus. But this trend, coupled with the decline in public funding from federal, state and local sources, could serve to marginalize the arts in philanthropyand some feel it raises the disturbing prospect of the further marginalization of the arts in American society as a whole. Grantmakers and theatres urgently need to enter into a constructive dialogue to explore these issues if the theatre is to survive and flourish. Following are some questions that might begin such a dialogue: * Only a few private funding sources are supporting theatre nationally today. Why have many grantmakers reduced or eliminated their arts funding programs? How can theatres$make a convincing argument for support of the arts? * According to TCGs latest Theatre Facts report (published in the April issue of this magazine), foundation giving to theatres increased an impressive 22 percent in 1993, but closer scrutiny reveals that half of all foundation funds went to just 16 percent of the theatres studied, and 42 percent of the theatres reported declines in 1993 foundation giving. Should there be a more broad-based distribution of funds among theatres? Should more theatres be brought to the funding table even if it means that there is less for everyone? * In the Foundation Center survey, 61 percent of the grantmakers and 93 percent of the grantseekers agreed that unrestricted operating support is the most critical need of arts organizations, yet operating support is increasingly difficult to obtain. What can be done to encourage more funders to consider supporting this basic need? * It appears that many grants are available for special funder-initiated programs, but these programs may not always be organic to a theatres mission. How can theatres avoid the dangers of grant-driven art? How can they resist self-censorship and avoid the will-it-make-a-good-application (or art by guidelines) syndrome? * Currently, many grantmakers emphasize education programs and community outreach services. How can theatres make the case that while education and outreach programs are absolutely integral to their work, these programs can exist only if the theatres central mission and operations are financially viable? How can effective arguments be made for supporting artistic development? .ufa095d0d3a6d3ec6ade4ed272ad9387c , .ufa095d0d3a6d3ec6ade4ed272ad9387c .postImageUrl , .ufa095d0d3a6d3ec6ade4ed272ad9387c .centered-text-area { min-height: 80px; position: relative; } .ufa095d0d3a6d3ec6ade4ed272ad9387c , .ufa095d0d3a6d3ec6ade4ed272ad9387c:hover , .ufa095d0d3a6d3ec6ade4ed272ad9387c:visited , .ufa095d0d3a6d3ec6ade4ed272ad9387c:active { border:0!important; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .clearfix:after { content: ""; display: table; clear: both; } .ufa095d0d3a6d3ec6ade4ed272ad9387c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufa095d0d3a6d3ec6ade4ed272ad9387c:active , .ufa095d0d3a6d3ec6ade4ed272ad9387c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .centered-text-area { width: 100%; position: relative ; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufa095d0d3a6d3ec6ade4ed272ad9387c:hover .ctaButton { background-color: #34495E!important; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufa095d0d3a6d3ec6ade4ed272ad9387c .ufa095d0d3a6d3ec6ade4ed272ad9387c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufa095d0d3a6d3ec6ade4ed272ad9387c:after { content: ""; display: block; clear: both; } READ: For nonprofits, budget offers plusses: but endowment reauthorization is still pending Essay* Responding to Americas increasing cultural diversity has become a priority for many funding agencies, as well as for many theatres. Yet there are those who argue that some grantmaking in this area has inadvertently served to divide, rather than bring to-gether, various multicultural and ethnic-specific theatres. How might theatres and grantmakers both be more sensitive to the impact of funding programs that promote cultural diversity? * While grant-seekers hope for grantmakers to be sensitive to their needs, the arts community has little understanding of the policies and directives guiding grantmakers. How can theatres be better informed about what is taking place in foundation and corporate board rooms today? How are grant programs developed? To what extent do funding criteria emphasize artistic quality? The size and scope of audience served? Financial need? * Some foundations and corporations have recently begun placing greater emphasis on evaluation and systems of accountability. Why has this trend come about, and how can theatres be better prepared to fulfill the additional requirements? There is no doubt that the gulf between grantmakers and grantseekers is widening. Our ability to engage in a constructive dialogue with funders without biting the hand that feeds us in the process may well determine the future economic and artistic viability of the nonprofit professional theatre in America. There will be no easy answers, but it is time to contemplate the questions.